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If you're looking for a movie that will keep you up at night, ponder your existential dread, and make you want to scrub off your skin to relieve the itch of unwanted memories, then Lolita is probably not for you. Instead of the hardcore rape scenes other versions shove in our faces, this adaptation is more concerned with exploring love’s effects. And instead of an unsettling rape scene at the end, it ends on a hopeful note.The next time I wonder whether all this effort will amount to anything worthwhile, I think about Nabokov's assertion that "the sole purpose of art is to lay bare what lies hidden in men’s hearts. ” When I read Lolita in high school, I didn’t see Nabokov’s point, nor was I capable of caring about it. But Lolita has stayed with me throughout my life. That's why it's so good.Adaptation is critical to understanding this story, and it’s easy to assume that the film version of Lolita is at odds with Nabokov's novel. But the narrative of two very different versions of Lolita has more to do with philosophical differences than the hard facts on the table. Nabokov’s novel is a ghost story. It's the story of a man who has lost his beloved daughter to an old classmate he might have prevented from dating her. He spends the rest of his life trying to work out the mystery of her death and “the terrible, wild secret that persisted in my heart,” even though he knows that this story does not have a proper ending. “Lolita is dead,” says Humbert, “and I can't forget her—I want to forget her—but I can't. ” When we see Lolita, we see her as Humbert sees her: as the most beautiful person in his universe. But when she disappears, there is nothing but a void. Humbert loses his little girl because he completely fails to understand her. For him, she is always a symbol of his longing and an object of desire—the "Dolores" he calls her throughout the book and the one who gets lost between "Lola" and "Lo." He doesn't know that she simply prefers another man over him: “I was not jealous of that immense and hopelessly sharp divide between us. I was not even sad. I only felt the confusion of my own incompleteness, and a kind of childish bewilderment that may have been connected with my astonishment over the fact that she had taken me seriously enough to want to make a fool of me.” When Humbert finally gets what he wants from Lolita, she turns around and chooses to be with her mother. In this version she is not nearly as lost as Humbert imagined her: "I said: 'You belong to me,' and she looked at me more dreamily than I had ever seen her look before and only answered: 'I love you.' And then we came away. cfa1e77820
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